Editorial Reviews

All Music Guide

The world-famous Diana Damrau is back with a CD of Liszt lieder that she performs with stellar artistry, accompanied by the musically gifted Helmut Deutsch. The album is roughly divided into three sections: songs with texts by German writers, three Petrarch sonnets in Italian, and then more German songs. Her bright, clean, warm sound is evident in the opening track of the album, where the piano introduction is so beautiful that it is virtually a piece on its own. The mystery of "Die Loreley" is appealing, and Damrau's low voice helps conjure that sense of doom for the sailor, along with the dark, swelling piano creating the waves. "Die Drei Zigeuner" is certainly one of the highlights on the album, very Hungarian in ...

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Editorial Reviews

All Music Guide

The world-famous Diana Damrau is back with a CD of Liszt lieder that she performs with stellar artistry, accompanied by the musically gifted Helmut Deutsch. The album is roughly divided into three sections: songs with texts by German writers, three Petrarch sonnets in Italian, and then more German songs. Her bright, clean, warm sound is evident in the opening track of the album, where the piano introduction is so beautiful that it is virtually a piece on its own. The mystery of "Die Loreley" is appealing, and Damrau's low voice helps conjure that sense of doom for the sailor, along with the dark, swelling piano creating the waves. "Die Drei Zigeuner" is certainly one of the highlights on the album, very Hungarian in its feel. The piano introduction could easily be a violin solo. Damrau tells the story of each gypsy, and Deutsch's piano interlude is Liszt at his best, full of fire and raw passion. Damrau has passion in spades. In "Freudvoll und leidvoll" she builds emotional crescendos into the lines and truly connects her deepest emotions with the text and dynamics. In the clever, brief "Der du von dem Himmel bist," she alternates an almost religious sense of calm with power and romantic ardor. There is power and yet there is also a sigh -- "was soll" -- and pain in her dark voice. Damrau is such a gifted artist to be able to switch moods so quickly, sometimes even between words, as in "Bist du!," where her voice sings "Granit" granite as hard as a rock, and then "ruhig" calm as the water in a lake. The Petrarch sonnets are interesting in their complexity. Their character is very Italian, very operatic, and bel canto, and each sonnet is unique and character in Damrau's interpretation. Her voice is controlled, extremely sweet, and also big and dramatic: perhaps too dramatic for these pieces. It may also be an issue of Liszt's composing; the pieces are not quite lieder, and yet it is not opera. On occasion, Damrau's vowels are a little swallowed and could be emphasized more. Liszt fans will certainly recognize the final track, "O lieb," which is interpreted warmly and passionately by Damrau. Deutsch's piano sparkles like a music box, and the listener is left with a sense of longing. Some listeners may find the choice of repertoire can sound somewhat repetitive over time, but this in no way diminishes the beauty of Damrau's voice. ~ V. Vasan

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